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ActorS

ActorS

An actor is a person who acts, or plays a role, in an artistic production. The term commonly refers to someone working in movies, television, live theatre, or radio, and can occasionally denote a street entertainer. Besides playing dramatic roles, actors may also sing or dance or work only on radio or as a voice artist. A female actor may be known as an actress, although some prefer the term "actor", using it as a gender-neutral term. An actor usually plays a fictional character. In the case of a true story (or a fictional story that portrays real people) an actor may play a real person (or a fictional version of the same). Occasionally, actors appear as themselves.

Etymology

"Actor" is directly from the masculine Latin noun actor (feminine, actrix) from the verb agere "to do, to drive, to pass time" + the suffix -or "so./st. who performs the action indicated by the stem". Alternatively from Greek (aktor), leader, from the verb (agō), to lead or carry, to convey, to bring.

History

The first recorded case of an actor performing took place in 534 B.C. (probably on 23 November, though the changes in calendar over the years make it hard to determine exactly) when the Greek performer Thespis stepped on to the stage at the Theatre Dionysus and became the first person to speak words as a character in a play. The machinations of storytelling were immediately revolutionized. Prior to Thespis' act, stories were told in song and dance and in third person narrative, but no one had assumed the role of a character in a story. In honour of Thespis, actors are commonly called Thespians. Theatrical myth to this day maintains that Thespis exists as a mischievous spirit, and disasters in the theatre are sometimes blamed on his ghostly intervention. However, this negative perception dramaticaly changed in 20th Century as acting became an honored and popular profession and art. Part of the reason is due to the rise of the popular appeal and access to dramatic film entertainment and the resulting rise of the movie star in social status and the large salaries they commanded. The combination of public presence and wealth had a profound rehabilitation to the image. In the past, only men could become actors. In the ancient and medieval world, it was considered disgraceful for a woman to go on the stage, and this belief continued right up until the 17th century, when in Venice it was broken. In the time of William Shakespeare, women's roles were played by men or boys, though there is some evidence to suggest that women disguised as men also (illegally) performed.

Actresses in male roles

Women actors sometimes play the roles of prepubescent boys, because in some regards a woman has a closer resemblance to a boy than does a man. The role of Peter Pan, for example, is traditionally played by a woman. The tradition of the principal boy in pantomime may be compared. An adult playing a child occurs more in theater than in film. The exception to this is voice actors in animated films, where boys are generally voiced by women, as heard in "The Simpsons". Opera has several 'pants roles' traditionally sung by women, usually mezzo-sopranos. Examples are Hansel in Hansel und Gretel, and Cherubino in The Marriage of Figaro. Mary Pickford played the part of Little Lord Fauntleroy in the first film version of the book. Linda Hunt won an Academy Award for Best Supporting Actress in The Year of Living Dangerously, in which she played the part of a man. Having an actor play the opposite sex for comic effect is also a long standing tradition in comic theatre and film. Most of Shakespeare's comedies include instances of cross dressing, and both Dustin Hoffman and Robin Williams appeared in hit comedy films where they were required to play most scenes dressed as women. Tony Curtis and Jack Lemmon famously posed as women to escape gangsters in the Billy Wilder film Some Like It Hot.

Techniques of acting

Actors employ a variety of techniques that are learned through training and experience. Some of these are: #The rigorous use of the voice to communicate a character's lines and express emotion. This is achieved through attention to diction and projection through correct breathing and articulation. It is also achieved through the tone and emphasis that an actor puts on words #Physicalisation of a role in order to create a believable character for the audience and to use the acting space appropriately and correctly #Use of gesture to complement the voice, interact with other actors and to bring emphasis to the words in a play, as well as having symbolic meaning Shakespeare is believed to have been commenting on the acting style and techniques of his era when Hamlet gives his famous advice to the players:

Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue: but if you mouth it, as many of your players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently; for in the very torrent, tempest, and, as I may say, the whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumbshows and noise: I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod: pray you, avoid it.

Be not too tame neither, but let your own discretion be your tutor: suit the action to the word, the word to the action; with this special observance: o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably.

O, reform it altogether. And let those that play your clowns speak no more than is set down for them; for there be of them that will themselves laugh, to set on some quantity of barren spectators to laugh too; though, in the mean time, some necessary question of the play be then to be considered: that's villanous, and shows a most pitiful ambition in the fool that uses it. Go, make you ready.

Acting awards

- Academy Awards, also known as the Oscars, for film
- Golden Globe Awards for film and television
- Emmy Awards for television
- Genie Awards for film
- Gemini Awards for television
- British Academy of Film and Television Arts Award for film and television
- Tony Awards for the theatre (specifically, Broadway theatre)
- European Theatre Awards for the theatre
- Laurence Olivier Awards for the theatre
- Screen Actors Guild Awards for film and television

Acting

:For legal meaning of acting, see Acting (law). :For the military sense, see Acting (rank). Acting is the work of an actor, a person in theatre, film, or any other storytelling medium who tells the story by portraying a character and, usually, speaking or singing the written text or play. From the Latin word agĕre meaning "to do", this is precisely what acting is. In acting, an actor suppresses or augments aspects of their personality in order to reveal the actions and motivations of the character for particular moments in time. The actor is said to be "assuming the role" of another, usually for the benefit of an audience, but also because it can bring one a sense of artistic satisfaction. Actors are generally expected to possess a number of skills, including good vocal projection, clarity of speech, physical expressiveness, the ability to analyze and understand dramatic text, and the ability to emulate or generate emotional and physical conditions. Well-rounded actors are often also skilled in singing, dancing, imitating dialects and accents, improvisation, observation and emulation, mime, stage combat, and performing classical texts such as Shakespeare. Many actors train at length in special programs or colleges to develop these skills, which have a wide range of different artistic philosophies and processes. Modern pioneers in the area of acting have included Konstantin Stanislavski, Lee Strasberg, Uta Hagen, Stella Adler, and Sanford Meisner. For history and other detail, see actor.

External links

Category:Drama Category:Role-playing ja:芝居

Theater

:For other usages see Theatre (disambiguation) Theatre is that branch of the performing arts concerned with acting out stories in front of an audience using combinations of speech, gesture, music, dance, sound and spectacle — indeed any one or more elements of the other performing arts. In addition to the standard narrative dialogue style, theatre takes such forms as opera, ballet, mime, kabuki, classical Indian dance, Chinese opera, mummers' plays, and pantomime.
Overview of theatre
"Drama" (literally translated, is defined as: Action) is that branch of theatre in which speech, either from written text (plays), or improvised is paramount. "Musical theatre" is a form of theatre combining music, songs, dance routines, and spoken dialogue. However, theatre is more than just what one sees on stage. Theatre involves an entire world behind the scenes that creates the costumes, sets and lighting to make the overall effect interesting. There is a particularly long tradition of political theatre, intended to educate audiences on contemporary issues and encourage social change. Various creeds, Catholicism for instance, have built upon the entertainment value of theatre and created (for example) passion plays, mystery plays and morality plays. There is an enormous variety of philosophies, artistic processes, and theatrical approaches to creating plays and drama. Some are connected to political or spiritual ideologies, and some are based on purely "artistic" concerns. Some processes focus on a story, some on theatre as an event, some on theatre as a catalyst for social change. According to Aristotle's seminal theatrical critique Poetics, there are six elements necessary for theatre. They are Plot, Character, Idea, Language, Song, and Spectacle. The 17th-century Spanish writer Lope de Vega wrote that for theatre one needs "three boards, two actors, and one passion". Others notable for their contribution to theatrical philosophy are Konstantin Stanislavski, Antonin Artaud, Bertolt Brecht, Orson Welles, Peter Brook, Jerzy Grotowski. The most recognisable figures in theatre are the directors, playwrights and actors, but theatre is a highly collaborative endeavour. Plays are usually produced by a production team that commonly includes a scenic or set designer, lighting designer, costume designer, sound designer, dramaturg, stage manager, and production manager. The artistic staff are assisted by technical theatre personnel who handle the creation and execution of the production.
Styles of theatre
technical theatre (1909).]] There are a variety of genres that writers, producers and directors can employ in theatre to suit a variety of tastes:
- Musical theatre: A theatrical genre in which the primary means of performance is through singing and music.
- Rock opera: Same style as opera, except that the musical form is rock music.
- Comedy: Comes from the Greek word komos which means celebration, revel or merrymaking. It does not necessarily mean funny, but more focuses on a problem that leads to some form of catastrophe which in the end has a happy and joyful outcome.
- Farce: A comic dramatic piece that uses highly improbable situations, stereotyped characters, extravagant exaggeration, and violent horseplay.
- Pantomime: A form of musical drama in which elements of dance, puppetry, slapstick and melodrama are combined to produce an entertaining and comic theatrical experience, often designed for children.
- Romantic comedy: A medley of clever scheming, calculated coincidence, and wondrous discovery, all of which contribute ultimately to making the events answer precisely to the hero's or heroine's wishes, with the focus on love.
- Comedy of situation: A comedy that grows out of a character's attempt to solve a problem created by a situation. The attempt is often bumbling but ends up happily.
- Comedy of manners: Witty, cerebral form of dramatic comedy that depicts and often satirises the manners and affectations of a contemporary society. A comedy of manners is concerned with social usage and the question of whether or not characters meet certain social standards.
- Commedia dell'arte: Very physical form of comedy which was created and originally performed in Italy. Commedia uses a series of stock characters and a list of events to improvise an entire play.
- Musical comedy: Comedy enacted through music, singing and dance.
- Black comedy: Comedy that tests the boundaries of good taste and moral acceptability by juxtaposing morbid or ghastly elements with comical ones.
- Melodrama: Originally, a sentimental drama with musical underscoring. Often with an unlikely plot that concerns the suffering of the good at the hands of the villains but ends happily with good triumphant. Featuring stock characters such as the noble hero, the long-suffering heroine, and the cold-blooded villain.
- Tragedy: A drama that treats in a serious and dignified style the sorrowful or terrible events encountered or caused by a heroic individual.
- Tragicomedy: A drama that has a bitter/sweet quality, containing elements of tragedy and comedy.
- Domestic drama: Drama in which the focus is on the everyday domestic lives of people and their relationships in the community that they live in.
- Fantasy: The creation of a unique landscape on a which a hero goes on a quest to find something that will defeat the powers of evil. Along the way, this hero meets a variety of weird and fantastic characters.
- Morality play: A morality play is an allegory in which the characters are abstractions of moral ideas.
- Physical theatre: Theatrical performance in which the primary means of communication is the body, through dance, mime, puppetry and movement, rather than the spoken word.
- Theatre of the Absurd: Term coined by Martin Esslin, theatre in which characters are engaged in an absurd, that is meaningless, activity or life. Related to existentialism.
- Meta-Theater: A genre of theater made popular with mostly modern audiences, although it did start back in the Elizabethan Era. Meta-Theater is when a play often completely demolishes the so called "fourth wall" and completely engages the audience. Often times about a group of actors, a director, writer and so on. It usually blurs the line between what is scripted and what goes on by accident. This list is not only somewhat incomplete and eurocentric, but none of the genre listed are actually mutually exclusive. The richness of live theatre today is such that its practitioners can borrow from all of these elements and more, and present something that is a multi-disciplinary melange of pretty much everything.
Theatre or Theater?
The traditional spelling of this word in Commonwealth English is theatre. In the United States, the alternative spelling theater has become more common. The general consensus of most American style guides is to use this spelling unless the word is part of the proper name of a performing arts facility or company, as some venues are branded with "theatre" [http://www.newpaltz.edu/styleguide/editorial/t.html] [http://www.buffalostate.edu/collegerelations/x593.xml] [http://www.utexas.edu/visualguidelines/tricky.html]. However, both spellings are in widely accepted when referring to the branch of the arts. For some people in the U.S., the two spellings carry different meanings. In this case, "theatre" denotes a branch of the performing arts, whereas "theater" refers to the building in which performances or other entertainments are presented. However, among theatre professionals in the U.S., "theatre" is common for both the art and the building.
Theatre venues and styles

- Broadway and the West End
- Off-Broadway and the London fringe
- Off-Off-Broadway
- Regional theatre
- Repertory theatre
- Summer stock theatre
- Community theatre
- Improvisational theatre
- Fringe festival
- Postmodern theater
- Proletcult Theatre
- Street theatre
- Physical theatre
- Temple dance
Awards in theatre

- European Theatre Award
- Laurence Olivier Awards (United Kingdom)
- Tony Award (USA)
- Golden Mask Award (Russia)
- Molière Award (France)
- Hans-Reinhart-Ring (Switzerland)
- Lucille Lortel Award (USA)
- Drama Desk Award (USA)
See also

- List of theater terms
- Theater in the United States
- History of theatre
- Theatre technique
- Suspension of disbelief
- Stagecraft
- Epic Theater
- Irish theatre
- Movie theater
- Puppet theater
- Tableaux vivant
- Mask Sound & Dance Theater
- Digital theatre
- Theater in architecture
- Opera house
- Dramatist
- List of playwrights
- List of theatre directors
- List of Irish dramatists
- :Category:Stage terminology
External links

- [http://webcdi.com/theater/theatre.php Theatre or theater?]
- [http://www.mugss.org/useful/dictionary/ Theatre terms dictionary]
- [http://www.bris.ac.uk/theatrecollection/ University of Bristol Theatre Collection]
- [http://www.ibdb.com/ Internet Broadway Database] ko:연극 ja:演劇 simple:Theater

Voice artist

#REDIRECT Voice actor

Female

Female is the sex of an organism, or a part of an organism, which produces egg cells. The "egg cell" (ovum) is defined as the larger gamete in a heterogamous reproduction system, while the smaller, usually motile gamete (sperm cell) is produced by the male. A female individual cannot reproduce sexually without access to the gametes of a male. Some organisms can reproduce both sexually and asexually. There is no single genetic mechanism behind sex differences in different species, and the existence of two sexes seems to have evolved multiple times independently in different evolutionary lineages. Other than the defining difference in the type of gamete produced, differences between males and females in one lineage cannot always be predicted by differences in another. The concept is not limited to animals; egg cells are produced by chytrids, diatoms, water molds, and land plants, among others. In land plants, 'female' and 'male' designate not only the egg- and sperm-producing organisms and structures, but also the structures of the sporophytes that give rise to male and female plants. A common symbol used to represent the female gender is ♀ (Unicode: U+2640), a circle with a small cross underneath. This symbol also represents the planet Venus and is a stylized representation of the goddess Venus' hand mirror.

Fictional character

A fictional character is any person who appears in a work of fiction. More accurately, a fictional character is the person or conscious entity we imagine to exist within the world of such a work. In addition to people, characters can be aliens, animals, gods or, occasionally, inanimate objects. Characters are almost always at the center of fictional texts, especially novels and plays. It is, in fact, hard to imagine a novel or play without characters, though such texts have been attempted (James Joyce's Finnegans Wake is one of the most famous examples). In poetry, there is almost always some sort of person present, but often only in the form of a narrator or an imagined listener. In various forms of theatre, performance arts and cinema (except for animation and CGI movies), fictional characters are performed by actors, dancers and singers. In animations and puppetry, they are voiced by voice actors, though there have been several examples, particularly, in machinima, where characters are voiced by computer generated voices. The process of setting up characters for a work of fiction is called characterization.

Names of characters

The names of fictional characters are often quite important. The conventions of naming have changed over time. In many Restoration comedies, for example, characters are given emblematic names that sound nothing like real life names: "Sir Fidget", "Mr. Pinchwife" and "Mrs. Squeamish" are some typical examples (all from The Country Wife by William Wycherley). Some 18th and 19th century texts, on the other hand, represent characters' names by the use of a single letter and a long dash (this convention is also used for other proper nouns, such as place names). This has the effect of suggesting that the author had a real person in mind but omitted the full name for propriety's sake. Les Misérables by Victor Hugo uses this technique. One reason for this dash is that, in Britain and in other countries with a feudal heritage, the names of counties and places might be the names of the feudal lords over those places. One cannot arbitrarily give someone the name "Earl of Manchester" because someone may either have or be elevated to such a title, so it may be grounds for a lawsuit. Hence fictitious names are based on disparaged historical characters, or tend to be re-used. For example, "Lady de Winter" is a character in Dumas pères Three Musketeers, and the family name was used in Du Maurier's Rebecca. (The same holds true for the names of houses: in the latter book, "Windermere" is named after a lake, not a feudal holding). The 19th century movements of sentimentalism, realism and naturalism all encouraged readers to imagine characters as real people by giving them realistic names, names that were often the titles of books, such as Charlotte Brontë's Jane Eyre or Charles Dickens' David Copperfield. These conventions were followed by the majority of subsequent literature, including most contemporary literature. However, there are few characters with names that are completely arbitrary. At the very least, names tend to indicate nationality and status. Often, the literal meaning or origin of a name is of some symbolic importance.
Some ways of reading characters
Readers vary enormously in how they understand fictional characters. The most extreme ways of reading fictional characters would be to think of them exactly as real people or to think of them as purely artistic creations that have everything to do with craft and nothing to do with real life. Most styles of reading fall somewhere in between. Here are some typical ways of reading fictional characters in literary criticism:
Character as symbol
In some readings, certain characters are understood to represent a given quality or abstraction. Rather than simply being people, these characters stand for something larger. Many characters in Western literature have been read as Christ symbols, for example. Other characters have been read as symbolizing capitalist greed (as in F. Scott Fitzgerald's The Great Gatsby), the futility of fulfilling the American Dream, or quixotic romanticism (Don Quixote).
Character as representative
Another way of reading characters symbolically is to understand each character as a representative of a certain group of people. For example, Bigger Thomas of Native Son by Richard Wright is often seen as representative of young black men in the 1930s, doomed to a life of poverty and exploitation. Dagny Taggart and other characters from Atlas Shrugged by Ayn Rand are seen as representative of American's hard-nosed, hard-working class. Many practitioners of cultural criticism and feminist criticism focus their analysis of characters on cultural stereotypes. In particular, they consider the ways in which authors rely on and/or work against stereotypes when they create their characters. Such critics, for example, would read Native Son in relation to racist stereotypes of African American men as sexually violent (especially against white women). In reading Bigger Thomas' character, one could ask in what ways Richard Wright relied on these stereotypes to create a violent African-American male character and in what ways he fought against it by making that character the protagonist of the novel rather than an anonymous villain. Often, readings that focus on stereotypes demand that we focus our attention on seemingly unimportant characters, such as the ubiquitous sambo characters in early cinema. Minor characters, or stock characters, are often the focus of this kind of analysis since they tend to rely more heavily on stereotypes than more central characters.
Characters as historical or biographical references
Sometimes characters obviously represent important historical figures. For example, Nazi-hunter Yakov Liebermann in The Boys from Brazil by Ira Levin is often compared to real life Nazi-hunter Simon Wiesenthal, and corrupted populist politician Willie Stark from All the King's Men by Robert Penn Warren is often compared to Louisiana governor Huey P. Long. Other times, authors base characters on people from their own personal lives. Glenarvon by Lady Caroline Lamb chronicles her love affair with Lord Byron, who is thinly disguised as the title character. Nicole, a destructive, mentally ill woman in Tender is the Night by F. Scott Fitzgerald, is often seen as a fictionalized version of Fitzgerald's wife Zelda. Perhaps because so many people enjoy imagining characters as real people, many critics devote their time to seeking out real people on whom literary figures were likely based. Frequently authors base stories on themselves or their loved ones.
Character as words
Some language- or text-oriented critics emphasize that characters are nothing more than certain conventional uses of words on a page: names or even just pronouns repeated throughout a text. They refer to characters as functions of the text. Some critics go so far as to suggest that even authors do not exist outside the texts that construct them.
Character as patient: psychoanalytic readings
Psychoanalytic criticism usually treats characters as real people possessing complex psyches. Psychoanalytic critics approach literary characters as an analyst would treat a patient, searching their dreams, past, and behavior for explanations of their fictional situations. Alternatively, some psychoanalytic critics read characters as mirrors for the audience's psychological fears and desires. Rather than representing realistic psyches then, fictional characters offer us a way to act out psychological dramas of our own in symbolic and often hyperbolic form. The classic example of this would be Freud's reading of Oedipus (and Hamlet, for that matter) as emblematizing every child's fantasy of murdering his father to possess his mother. This form of reading persists today in much film criticism. The feminist critic Laura Mulvey is considered a pioneer in the field. Her groundbreaking 1975 article, "Visual Pleasure and Narrative Cinema"[http://www.jahsonic.com/VPNC.html], analyzed the role of the male viewer of conventional narrative cinema as fetishist, using psychoanalysis "as a political weapon, demonstrating the way the unconscious of patriarchal society has structured film form."
Round characters vs. flat characters
Some critics distinguish between "round characters" and "flat characters" or types. The former are made up of many personality traits and tend to be complex and both more life-like and believable, while the latter consist of only a few personality traits and tend to be simple and less believable. The protagonist (main character, sometimes known as the "hero" or the "heroine") of a novel is certain to be a round character; a minor, supporting character in the same novel may be a flat character. Scarlett O'Hara, of Gone with the Wind, is a good example of a round character, whereas her servant Prissy exemplifies the flat character. Likewise, many antagonists (characters in conflict with protagonists, sometimes known as "villains") are round characters. An example of an antagonist who is a round character is Gone with the Wind's Rhett Butler. A number of stereotypical or "stock" characters have developed throughout the history of drama. Some of these characters include the country bumpkin, the con artist, and the city slicker. Often, these characters are the basis of "flat characters", though elements of stock characters can also be present in round characters as well.
Unusual uses
Postmodern fiction frequently incorporates real characters into fictional and even realistic surroundings. In film, the appearance of a real person as himself inside of a fictional story is a type of cameo. For instance, Woody Allen's Annie Hall has Allen's character call in Marshall McLuhan to resolve a disagreement. In some experimental fiction, the author acts as a character within his own text. One of the earliest examples of this is Niebla ("Fog") by Miguel de Unamuno (1907), in which the main character visits Unamuno in his office to discuss his fate in the novel. Paul Auster also employs this device in his novel City of Glass (1985), which opens with the main character getting a phone call for Paul Auster. At first the main character explains that the caller has reached a wrong number, but eventually he decides to pretend to be Auster and see where it leads him. In Immortality by Milan Kundera, the author references himself in a storyline seemingly separate from that of his fictional characters, but at the end of the novel, Kundera meets his own characters. With the rise of the "star" system in Hollywood, many famous actors are so familiar that it can be hard to limit our reading of their character to a single film. In some sense, Bruce Lee is always Bruce Lee, Woody Allen is always Woody Allen, and Harrison Ford is always Harrison Ford; all often portray characters that are very alike, so audiences fuse the star persona with the characters they tend to play, a principle explored in the Arnold Schwarzeneggar vehicle, Last Action Hero. Some fiction and drama make constant reference to a character who is never seen. This often becomes a sort of joke with the audience. This device is the centrepoint of one of the most unusual and original plays of the 20th century, Samuel Beckett's Waiting for Godot, in which Godot of the title never arrives.
Iconic fictional characters
Some fictional characters are so famous that they can be references easily outside of the work from which they came, often because they have come to symbolize some archetype or ideal.
Lists of fictional characters

General

- List of advertising characters
- List of aliens in fiction
- List of comic and cartoon pairs
- Comic and cartoon characters named after people
- List of notable female fictional characters
- List of dead fictional characters
- List of fictional characters with one eye
- List of fictional clergy and religious figures
- List of mad scientists
- List of mythological pairs
- List of real-life characters
- List of fictional robots and androids
- List of Greek mythological characters
- List of heroic fictional scientists and engineers
- List of unseen characters
- List of video game mascots
- List of fictional witches
- List of fictional television sitcom characters
- List of fictional people known for their names
- List of horror film killers
Stock characters

- Damsel in distress
- Femme fatale
- Butch and femme
- Hero
- Mad scientist
- Villain
Fictional animals

- list of fictional apes (and other non-human primates, excluding Monkeys)
- list of fictional monkeys
- list of fictional bears
- list of fictional birds
- list of fictional cats
- list of fictional dinosaurs
- list of fictional dogs
- list of fictional dragons
- list of fictional elephants
- list of fictional horses
- list of fictional mice and rats
- list of fictional pigs
- list of fictional rabbits
- list of fictional sheep
- List of fictional animals of other species
Lists of fictional characters in specific works or series

- List of X-Men
- List of Digimon
- List of Pokémon
- Characters from Dune
- Characters of The Sandman
- Characters in Atlas Shrugged
- List of DC Comics characters
- List of Dickens characters
- List of Disney characters
- List of Dragon Ball characters
- List of Middle-earth peoples
- List of Middle-earth characters
- Characters from The Lord of the Rings
- List of Characters in Grand Theft Auto Vice City
- List of characters in Beavis and Butt-head
- List of Hercules and Xena characters
- List of Mortal Kombat characters
- List of Archie Comics characters
- List of Characters in The Chronicles of Narnia
- List of characters from Family Guy
- List of characters from The Simpsons
- Fictional characters within The Simpsons
- List of celebrities on The Simpsons
- List of recurring characters from The Simpsons
- One-time characters from The Simpsons
- List of characters from The Sopranos
- List of the Legend of Zelda characters
- List of Hanna-Barbera characters
- Invader Zim characters
- List of Mario series characters
- List of Marvel Comics characters
- List of Nintendo characters
- List of Final Fantasy characters
- List of Characters from Grand Theft Auto: San Andreas
- List of Mega Man characters (original series)
- List of Mega Man characters (X series)
- List of Mega Man characters (Zero series)
- List of Mega Man characters (Legends series)
- List of Mega Man characters (Battle Network series)
- List of Metroid characters
- List of Tekken characters
- List of the Adventures of Tintin characters
- List of Carmen Sandiego characters
- List of characters in translations of Harry Potter
- List of characters in the Harry Potter books
- Characters in the Wheel of Time series
- List of Soul Calibur characters
- List of Star Trek characters
- List of Star Wars characters
- List of Sesame Street characters
- Minor characters from The Hitchhiker's Guide to the Galaxy
- List of characters from Alias
- List of characters in the Oz books
- List of Robert Heinlein characters
- Love Hina main characters
- Love Hina minor characters
Heroes and villains

- List of fictional heroes
- List of anti-heroes
- List of black superheroes
- List of female superheroes
- List of male superheroes
- List of literary works with eponymous heroines
- List of supervillains
See also

- Archive of fictional things
- Fictional realm
- Grand argument
- Mary Sue
- The 100 Greatest Movie Characters of All Time Category:Fiction Category:Lists of fictional characters
- ja:架空の人名一覧

Latin verbs

- This is the first of two pages. See also Latin verbs (2)
- This list of Latin verbs includes all four principal parts (three in the case of deponent verbs, semi-deponent verbs, and certain passives) of the verbs in this order (all are 1st person, singular, active, indicative): 1. present 2. infinitive 3. past perfect 4. passive perfect participle- (Most derivatives descend from principal parts 1 and 4)
- For full conjugation of all forms of a verb (person, number, tense, voice, mood) see Latin conjugation.
- Each verb on this list includes lists of English derivatives of these verbs (except when there are none). Any verb cited within the etymology of another verb is included in the list and the derivatives of each will be found at the least complex verb (example- the derivative accessible is found under cēdere rather than accēdere) EXCEPT when 1. the assumed relation of the more complex verb to the simpler verb involves an unattested form (see sūmō) or 2. the complex verb contains a noun or adjective instead of a prefix (see aedificare).
- Many of these derivatives contain affixes or their forms are considerably different from their Classical Latin forms. Many have also undergone semantic change and their modern meanings may be difficult to relate to the Latin etymon. Also, only a limited number of meanings is given for each Latin verb. In any of these cases it is best to look at that specific word's etymology. The List of English prefixes and List of English suffixes may also be helpful. The internal links for the prefixes ab-, ad-, con-, and ex- may also help explain phonological changes of a given word. The external links [http://bartleby.com/61/IEroots.html] within the text go to the hypothetical Indo-European root for that particular verb.

A

- abluō, abluěre, abluī, ablūtus "to wash away" < ab- + luěre (see luō). see lavō for derivatives
- accēdō, accēdere, accessī, accessum. "to come up to, approach" < ad- + cēdō
- accendō, accendere, accendī, accēnsus. "to set fire to" < ad- + candō
- accidit, accidere, accidit. "it happens" < ad- + cadō
- accipiō, accipere, accēpī, acceptum. "to accept, receive" < ad- + capiō
- adiūtō, adiūtāre, adiutāvī, adiutātum "to help" < ad- + iutō < iutum, the passive perfect participle of iuvāre (iuvō) adjutant, aid
- adveniō, advenīre, advēnī, adventum. "to arrive" < ad- + veniō
- aedifcō, aedificāre, aedificāvī, aedificātum. "to build, erect buildings" < aedis "building" originally "hearth, fireplace" + facere (see faciō) edification, edifice, edify
- agō, agere, ēgī, actum. "to do, act, drive, conduct, lead, weigh, manage" act, active, actor, actual, actualism, actuary, actuate, agenda, agent, agile, agitation, allege, ambage, ambiguous, assay, cache, coagulation, cogent, essay, exact, exacta, examination, exigent, exiguous, fumigation, fustigate, intransigent, levigate, litigate, navigate, objurgate, prodigal, redaction, retroactive, squat, transaction, variegation [http://bartleby.com/61/roots/IE1.html]
- ambulō, ambulāre, ambulāvī, ambulatum "walk" alley, alley-oop, ambulance, ambulate, andante, funambulist, perambulator, preamble [http://bartleby.com/61/roots/IE15.html]
- amō, amāre, amāvī, amatum "to love" amore, amour, paramour
- aperiō, aperīre, aperuī, apertum "to open, uncover" aperient, apéritif, aperture overt, overture, pert [http://www.bartleby.com/61/roots/IE573.html]
- appellō, appellāre, appellāvī, appellatum "to call (by name), entreat, speak to, accost" < ad- + pellō
- arceō, arcēre, arcuī "to enclose, keep out/off, prevent, stop" (no direct derivatives) BUT see exerceō
- ardeō, ardēre, arsī, arsus "to burn, be on fire" < aridus "dry, parched" < arēre
- areō, arēre "to be dry" ardent, ardor, arid arson
- ascendō, ascendere, ascendī, ascensum "to climb" < ad- + scandere
- audio, audīre, audīvī, audītum "to hear" audible, audience, audile, audio, audit, audition, auditor, auditorium, auditory, oyez, obey, subaudition [http://www.bartleby.com/61/roots/IE27.html]
- augeō, augēre, auxī, auctus "to increase, augment"auction, augend, augment, author, authorize [http://www.bartleby.com/61/roots/IE28.html]

B

- bibō, bibere, bibī, "to drink" beer, beverage, bib, bibulous imbibe, imbrue [http://www.bartleby.com/61/roots/IE417.html]

C

- cadō, cadere, cecidī, cāsum "to fall, kill, die, be killed, happen, fail, belong" cadaver, cadence, cadent, caducous, cascade, case, casual, casualty, casuist, chance, chute accident, decay, deciduous, escheat, incident, occasion, occident, recidivism [http://www.bartleby.com/61/roots/IE195.html]
- caedō, caeděre, cecīdī, caesus "to cut, kill, hack (at), strike" abscise, caesura, cement, cestus, [chisel]], –cide as in suicide, circumcise, concise, decide, excise, incise, precise, recision, scissors [http://www.bartleby.com/61/roots/IE196.html]
- candeō, candēre, canduī "to shine, glitter, be shining white, be white-hot" candelabrum, candelilla, candent, candescence, candid, candida, candidate, candle, candor incandescence [http://www.bartleby.com/61/roots/IE202.html]
- canō, canere, cecinī, cantum "to sing" accent, canorous, cant, cantabile, cantata, canticle, cantillation, canto, cantor, canzone, chant, chanteuse, chantey, chanticleer, chantry, descant, enchant, incantation, incentive, precentor, recant, shanty [http://www.bartleby.com/61/roots/IE201.html]
- capiō, capere, cēpi, captum "to take, capture" cable, cacciatore, caitiff, capable, capacious, capacity, capias, capstan, caption, captious, captivate, captive, captor, capture, catch, cater, chase, cop, copper accept, anticipate, catchpole, conceive, conception, deceive, except, inception, inceptive, incipient, intercept, intussusception, municipal, nuncupative, occupant, occupy, participation, perceive, precept, receive, recipe, recover, recuperation, susceptible [http://www.bartleby.com/61/roots/IE203.html]
- caveō, cavēre, cāvī, cautum "to guard against, beware of" caution, caveat, cave canem
- cēdo, cēdere, cessi, cessus "to go, move, concede, withdraw, yield" abscess, accede, access, accessible, ancestor, antecedent, cease, cede, cession, concede, decease, exceed, expulsion,incessant, intercede, precedent, predecessor, procession, recession, retrocede, secession, succession [http://www.bartleby.com/61/roots/IE209.html]
- cēnō, cēnāre, cēnī, cēnātum "to dine" < cēna "meal" cenacle [http://www.bartleby.com/61/roots/IE467.html]
- cieō, ciēre, cīvī, citus "to set in motion, rouse, bring about, make" cite, excite, incite, oscitancy, resuscitate, solicitous [http://www.bartleby.com/61/roots/IE212.html]
- circumveniō, circumvenīre, circumvēnī, circumventum "to surround, go around" - clāmō, clāmāre, clāmāvī, clāmātum "shout, call, cry out" acclaim, claim, clamant, clamor, declaim, exclaim, proclaim, reclaim [http://www.bartleby.com/61/roots/IE217.html]
- claudō, claudere, clausi, clausum "to shut, close" clause, claustrophobic, cloister, close, close, exclude, include, preclude, recluse, seclude, seclusion
- cognoscō, cognoscere, cognōvī, cognitum acquaint, cognition, cognizance, connoisseur, incognito, notice, notify, notion, notorious, quaint, recognize, reconnaissance, reconnoiter [http://www.bartleby.com/61/roots/IE177.html]
- colligō, colligere, collēgī, collectum < con- + legō
- colō, colere, coluī, cultum "to cultivate, till, inhabit, worship" colony, cult, cultivate, culture, Kultur, incult, inquiline, nidicolous, silvicolous [http://www.bartleby.com/61/roots/IE250.html]
- compellō, compellāre, compellāvī, compellatum "to drive (together), compel, force" < con- + pellō
- condō, condere, condidī, conditus "to found, establish, put" abscond, incondite, recondite, sconce [http://www.bartleby.com/61/roots/IE92.html]
- cōnficiō, cōnficere, cōnfēcī, cōnfectum "finish" < con- + faciō
- cōnfidō, confīdere, confīsus sum "to trust" < con- + fīdō
- coniciō, conicěre, coniēcī, coniectus "to hurl" < con- + iaciō
- conspiciō, conspicer, conspexī, conspectum "to catch sight of" < con- + speciō
- cōnstituō, cōnstituěre, cōnstituī, cōnstitūtum "to set up, erect, settle (on)" < con- + statuō
- contendō, contendere, contendī, contentum "stretch, aim, strain, exert" < con- + tendō
- conveniō, convenīre, convēnī, conventum " to (go to) meet, interview, walk, march" < con- + veniō
- convoco, concocāre, convocāvī, convocātum "to convoke" < con- + vocō
- crēdo, crēděre, crēdidī, creditum "to lend, loan, believe, trust, accept as true" credence, credible, credit, credo, credulous, grant, incredible, miscreant, recreant [http://www.bartleby.com/61/roots/IE225.html]
- crēsco, crēscere, crēvī, crētus "to grow (up), increase, arise, come into being" accrue, concrescence, concrete, crescendo, crescent, crew, decrease, excrescence, increase, recruit [http://www.bartleby.com/61/roots/IE223.html]
- cupio, cupěre, (cupīvī OR cupiī), cupītum "to wish, be eager for, long for, desire" covet, covetous, cupescence, Cupid, cupidity
- cūrō, cūrāre, cūrāvī, cūrātum "to take care of, look after" curative, cure, procure, secure, security
- currō, currere, cucurrī, cursum "to run (over), traverse, pass, skim over" concourse, concur, corral, corrida, corrido, corridor, corsair, courante, courier, course, current, cursive, cursor, curule, decurrent, discourse, excursion, hussar, incur, intercourse, kraal, occur, percurrent, precursor, recourse, recur, succor [http://www.bartleby.com/61/roots/IE228.html]
- custōdiō, custōdīre, custōdīvī, custōdītum "to guard, protect, watch (over), hold in custody" < cust-ōs, -ōdis "guard" custodian, custodial, custody [http://www.bartleby.com/61/roots/IE470.html]

D

- dēbēo, dēbēre, dēbuī, dēbitum "to have to, owe, be responsible for, be obliged to" ALSO "I ought to, I must" debenture, debit, debt, devoir, due, duty, endeavor [http://www.bartleby.com/61/roots/IE151.html]
- dēdō, dēdere, dēdidī, dēditum "to give up, surrender" (no direct English derivatives) < de- + dō
- dēfendō, dēfendēre, defendī, dēfensum "to defend" defend, defense, fence, fend
- dēpōnō, dēpōnere, dēposuī, dēpositum "to put down/aside, get rid of, deposit " < de- + pōnō
- despērō despērāre, despērāvī, despērātum "to despair, give up hope" < de- + spērō
- dīcō, dīcere, dīxī, dictum "to speak, say" addict, benediction, condition,contradict, dictate, diction, dictum, ditto, ditty, edict, fatidic, herb bennet, indict, indiction, indite, interdict, juridical, jurisdiction, maledict, malison, predict, valediction, verdict, veridical, voir dire [http://www.bartleby.com/61/roots/IE76.html]
- dictō, dictāre, dictāvī, dictātum "to say (again), reiterate, suggest, remind" < passive perfect participle of dīcō
- dīmittō, dīmittěre, dīmttīvī, dīmissus "to send away, let go, dismiss" < di- + mittō
- discēdō, discēdere, discessī, discessum "to go away, depart" < dis- + cēdō (no direct English derivatives) but see cēdō
- discō, discěre, didǐcī "to learn, get to know, be told" disciple, discipline [http://www.bartleby.com/61/roots/IE77.html]
- dō, dare, dědī, datus "to give, offer, dedicate, pay out" add, betray, dado, date, dative, data, datum, die, edition, perdition, render, rendition, rent, surrender, tradition, traitor, treason, vend [http://www.bartleby.com/61/roots/IE114.html]
- doceō docere, docuī, doctum "to teach, i.e. to cause to accept" docent, docile, doctor, doctrine, document [http://www.bartleby.com/61/roots/IE77.html]
- dormiō dormīre, dormīvī, dormītum dorm, dormancy, dormant, dormer, dormitory, dormouse
- dūcō, dūcere, dūxī, ductum "to lead" abducens, abduct, adduce, aqueduct, circumduction, con, condottiere, conduce, conduct, deduce, deduct, doge, douche, ducal, ducat,duce, duchess, duchy, duct, ductile, duke, educe, endue, induce, introduce, produce, redoubt, reduce, seduction, subduction, subdue,traduce, transducer [http://www.bartleby.com/61/roots/IE91.html]

E

- edō, (ēsse OR edere), ēdī, ēsus "to eat" edacious, edible, escarole, esculent, esurient; comedo, comestible, obese [http://www.bartleby.com/61/roots/IE118.html]
- efficiō, efficere, effēcī, effectum < ex- + facere (see faciō)
- emō, emere, ēmī, ēmptum "to buy, pay (for), take, gain, obtain, bribe" ademption, example, exemplary, exemplify, exemplum, exempt, impromptu, peremptory, preemption, premium, prompt, pronto, ransom, redeem, redemption, sample, vintage [http://www.bartleby.com/61/roots/IE126.html]
- eō, īre, īī, itum "to go" adit, ambient, ambition, circuit, coitus, comitia, exit, introit, issue, obituary, perish, praetor, preterit, preterite, sedition, subito, sudden, trance, transient, transit, transitive [http://www.bartleby.com/61/roots/IE122.html]
- errō, errāre, errāvī, errātum "to wander, err" aberration, err, erratic, erratum, erroneous, error
- ēvādō, ēvādere, ēvāsī, ēvāsum "escape" < ex- + vādō
- ēvigilō, ēvigilāre, ēvigilāvī, ēvigilātum "to be awake, to watch/work/etc. through the night" (no direct derivatives) BUT < ex- + vigilō
- excitō, excitāre, excitāvī, excitātum "to awaken, excite" < ex- + citare < citus, passive perfect participle of cieō
- exeō, exīre, exīī, exitum "to go out" < ex- + eō
- exerceō, exercēre, exercuī, exercitus "to train, execrcise" < ex- + arceō exercise
- exspectō, exspectāre, exspectāvī, exspectātum "to wait (for), expect" < ex- + the passive perfect participle of speciō

F

- faciō, facere, fēcī, factum "to make, do, fashion, create, frame, build" affair, affect, affect, affection, amplify, artifact, artificial, beatification, benefactive, benefic,benefice, beneficence, benefit, chafe, comfit, confectionary, confetti, counterfeit, defeasance, defeatism, defect, deficient, discomfit, effect, efficacy, efficient, -facient, facsimile, fact, faction, factitious, factitive, factor, factotum, faena, fashion (verb), feat, feature, feckless, fetish, -fic, -fy, forfeit, hacienda, infect, justify, malefactor, malfeasance, manufacture,misfeasance, modifier, mollifiers, nidify, notification, nullifiers, officinal, orifice, perfect, petrify, pluperfect, pontifex, prefect, proficient, profit, putrefy, qualify, quantify, rarefy, rectify, refect, refectory, rubefacient, sacrifice, satisfy, spinifex, suffice, sufficient, surfeit, tubifex, tumefacient, vivify [http://www.bartleby.com/61/roots/IE92.html]
- faveō, favēre, fāvī, fautum "to favor, support" favor, favorite
- ferō, ferre, tulī, lātum "to carry, bear" (from principal parts 1 & 2)- afferent, circumference, confer, defer, differ, efferent, –fer (as in aquifer), fertile, infer, offer, prefer, proffer, refer, suffer, transfer, vociferous[http://bartleby.com/61/roots/IE55.html] (from principal part 4)- ablation, ablative, allative, collate, dilatory, elate, elative, illation, illative, legislator, oblate, prelate, prolate, relate, sublate, superlative, translate [http://www.bartleby.com/61/roots/IE524.html]
- festīnō, festīnāre, festīnāvī, festīnātum "to hurry, bustle, speed (up)" festinate, festination
- fīdō, fīděre, fīsus sum "to trust, confide (in)" affiance, affiant, affidavit, confidant, confide, confident, defiance, defy, diffident, fiancé, fiducial, fiduciary, perfidy [http://www.bartleby.com/61/roots/IE49.html]
- fiō, fīerī, factus sum "to become" fiat [http://www.bartleby.com/61/roots/IE62.html]
- fleō, flēre, flēvī, flētum "to weep" feeble
- frangō, frangere, frēgī, frāctum "to break" anfractuous, chamfer, defray, diffraction, fractal, fracted, fraction, fractious, fracture, fragile, fragment, frail, frangible, infract, infrangible, infringe, irrefrangible, ossifrage, refract, refrain, refringent, sassafras, saxifrage, septifragal [http://www.bartleby.com/61/roots/IE68.html]
- fugiō, fugere, fūgī, fūgitum "to flee" centrifuge, feverfew, fugitive, tempus fugit

G

- gaudeō, gaudēre, gāvīsus sum "to rejoice" enjoy, gaud, gaudy, gaudy, joy rejoice [http://www.bartleby.com/61/roots/IE139.html]
- gerō, gerere, gessī, gessum "to carry, bear, wear" dentigerous, gesticulation, gesture

H

- habeō, habēre, habuī, habitum "to hold, possess, have, handle" able, avoirdupois, binnacle, cohabit, exhibit, habile, habit, habitable, habitant, habitat, inhabit, inhibit, malady, prebend, prohibit, provender
- habitō, habitāre, habitāvī, habitātum "to live (somewhere), dwell" < habeō

I

- iaceō, iacēre, iacuī, iacitum "to lie (down), be situated, i.e. to be thrown" < iaciō
- iaciō, iacěre, iēcī, iactus "to throw, cast" abject, adjacent, adjective, amice, circumjacent, conjecture, deject, ejaculate, eject, gist, gite, inject, interject, jactitation, jess, jet, jeté, jetsam, jettison, jetty, joist, jut, object, parget, project, reject, subjacent, subject, superjacent, traject [http://www.bartleby.com/61/roots/IE593.html]
- imperō, imperāre, imperāvī, imperātum "to give orders, demand, (be in) command" < in- + parō
- incendō, incendere, incendī, incensus "to light (up), set on fire, burn, make bright, inflame, excite, enrage" < candō or just from the same root incendiary, incense, incense, frankincense [http://www.bartleby.com/61/roots/IE202.html]
- induō, induere, indui, indūtum "to don (something), put on (clothes)" endue, indue, indument [http://www.bartleby.com/61/roots/IE135.html]
- ineō, inīre, iniī, initum "to start, begin, enter" < in + eō or simply from the same base and thought of as a compound in Latin. commence, initial, initiate
- īnsum, inesse, īnfuī, infutūrus (no direct English derivatives) < in + sum
- intellegō, intellegere, intellēxī, intellēctum "to gather, understand" < inter- + lěgo
- intersum, interesse, interfuī, interfutūrus "to be in, among" < inter- + sum
- intrō, intrāre, antrāvī, intrātum < intra- + -are (verbal suffix) enter, entrance
- inveniō, invenīre, invēnī, inventum "to find, come upon, discover, invent" < in- + veniō
- invideō, invidēre, invīdī, invīsuum "to envy, begrudge, be jealous" < in + videō
- iubeō, iubere, iussī, iussum "to order, decree, designate, appoint" jussive
- iuvō, iuvāre, iuvāvī, iuvātum "to help, give an advantage (to), benefit" (no direct derivatives, but see adiutō)

J & K

Most words with a 'j' that are descended from Latin were originally written in Classical Latin with an 'i' and appear there in this list to avoid redundancy (ex. jaceō and iaceō are the same verb). The letter 'k' was very rare in Latin and only occasionally used in words of Ancient Greek origin in place of kappa or in foreign and personal names. The 'hard k' sound in Latin is represented by 'c' which was never a 'soft c' (as in Modern English 'century').

References

- The American Heritage® Dictionary of the English Language Fourth Edition [http://www.bartelby.com/61/]

Greek language

Greek (Greek Ελληνικά, IPA – "Hellenic") is an Indo-European language with a documented history of 3,500 years. Today, it is spoken by 15 million people in Greece, Cyprus, the former Yugoslavia, particularly The Former Yugoslav Republic of Macedonia, Bulgaria, Albania and Turkey. There are also many Greek emigrant communities around the world, such as those in Melbourne, Australia which is the third-largest Greek-populated city in the world, after Athens and Thessaloniki. Greek has been written in the Greek alphabet, the first true alphabet, since the 9th century B.C. and before that, in Linear B and the Cypriot syllabaries. Greek literature has a long and rich tradition.

History

This article does not cover the reconstructed history of Greek prior to the use of writing. For more information, see main article on Proto-Greek language. Greek has been spoken in the Balkan Peninsula since the 2nd millennium BC. The earliest evidence of this is found in the Linear B tablets dating from 1500 BC. The later

ActorS

Etymology

History

Actresses in male roles

Techniques of acting

Acting awards

See also

Suggested reading

Acting

See also

Suggested Reading

External links

Theater

Overview of theatre

Styles of theatre

Theatre or Theater?

Theatre venues and styles

Awards in theatre

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External links

Voice artist

Female

See also

Fictional character

Names of characters

Some ways of reading characters

Character as symbol

Character as representative

Characters as historical or biographical references

Character as words

Character as patient: psychoanalytic readings

Round characters vs. flat characters

Unusual uses

Iconic fictional characters

Lists of fictional characters

General

Stock characters

Fictional animals

Lists of fictional characters in specific works or series

Heroes and villains

See also

Latin verbs

A

B

C

D

E

F

G

H

I

J & K

References

See also

Greek language

History